The GERMAN DANCE PLATFORM Sees Itself As a Forum to Present Recent Developments and Innovative Currents in German Contemporary Dance

The GERMAN DANCE PLATFORM sees itself as a forum to present recent developments and innovative currents in German contemporary dance. It offers an overview and a presentation platform for the most remarkable positions of present - day creation in the fields of domestic dance and choreographic performance. T h e selection of pieces is made by a jury that is elected for each edition respectively. The event is directed to wards guests from Germany and abroad, organizers of culture, the expert press and an interested local audience. Given its special relevance as a meeting point of the international scene of curators and also its general attraction for the public, it is ofte n compared to the Berliner Theatertreffen.

The GERMAN DANCE PLATFORM was founded by Nele Hertling, Walter Heun and Dieter Buroch in 1994 and began as a trilogy in Berlin, Frankfurt and Munich. Since then, it has been taking place biennially in different German cities and is awarded by the community of co - organizers, who select the respective responsible organizer – in 2020, this is JOINT ADVENTURES – Walter Heun.

e u ro - scene, Leipzig HAU Hebbel am Ufer, Berlin H E L L E RA U – Europäisches Zentru m der Künste, Dresden JOINT ADVENTURES, München Kampnagel Internationale Kulturfabrik, Hamburg Künstlerhaus Mousonturm, Frankfurt am Main KunstKulturQuartier, Nürnberg PACT Zollverein, Essen tanzhaus nrw, Düsseldorf TANZtheater INTERNATIONAL, Hannover T h e a terhaus Stuttgart sowie die beiden Partner ITI Deutschland und Goethe - In st i t u t

The GERMAN DANCE PLATFORM took place in Munich once before in 1998. For the edition from 4. to 8. March 2020, it is returning to Munich after more than 20 y e a r s.

2 Gasteig München GmbH H o c h X Theater und Live Art Munich Center of Community Arts, MUCCA Muffatwerk Münchner Kammerspiele Residenztheater Schwere Reiter U t o p i a

Journalists and press representatives can register for the GERMAN DANCE PLATFORM’s performances per e - ma i l .

Dorothee Wolfrat [email protected] +49 89 189 31 37 16

A t www.tanzplattform2020.de you can find press photos from the respective performances. The use of photos offered here is free of charge in the context of topical reporting and with reference to the photo credit. For interview requests, you are welcome to contact us directly.

D o r o th e e Wo l f ra t [email protected] +49 89 189 31 37 16

JOINT ADVENTURES – Walter Heun Zielstattstr. 10A 81379 München

3 S a š a A s e n t i ć „ D I S _ S YL P H I DE, a dance piece on disability and dance history in Germany“

S i m o n e A ug h t e r lo n y , P e t ra H ra š c a n e c , S a ša B o ž i ć „ C o m p a s s “

C o c o o n D a n c e „ V I S MOT R I X “

J u l e F l i e r l „ S t ö r l au t “

G i n t e r s d o rf e r / K l a ß en „ K a b u k i No i r “

T h e a t e r B r em e n / U n us u a l S y m pt om s / A d r i en n H ó d – Ho d w o rk s „ COE X I S T “

L aMa c a n a – Ca t e r i na V a r e l a , A l ex i s F e r ná n d e z , S am i r Ak ik a „ P i n k Un i c o r n s “

S h e e n a Mc G r a n d l e s „ F I GURE D “

Mo r i t z O st r u s c h n j a k „ U n s t e r n “

G i n e v ra Pa n z e tt i & En r i c o T i c c o n i „ H a r l e k in g “

I s a b e l l e S c h a d „ R e f l e c t i o n “

R e u t S h e m e s h „ AT ARA – F o r y o u , wh o h a s n o t y e t f o u n d th e o n e “

t a n zm a i n z / S ha r o n E y a l „ S o u l C h a i n “

J o a n a T i s c h k a u „ P L AYBL ACK “

K a t V á la s t u r „ R a s p Y o u r So u l “

4 The GERMAN DANCE PLATFORM 2020 program lets Munich audiences as well as experts discover surprising and exciting dance. However, the selection of pieces does not represent a status quo of what artists produce in Germany; instead, it attempts to offer remarkable productions a platform in order to present them to an audience and important multip licators domestically and abroad.

The 15 invited pieces are an assorted selection of dance productions that reflect the diverse and international radiance of the German scene. For the jury and organizers, it was important – in the sense of a critical prac tice of diversity – to guarantee access and participation for all artists. The selection shows established as well as l e ss - established artists. Decisive was the works’ artistic quality, their majority creation in Germany and their ability to be presented o n t ou r.

One can decipher from the invited pieces that contemporary dance in Germany is an art form that is addressing social and political issues and creating a clear opposition to current (rightist) populist tendencies by implying a different, open soci a l mo d e l. The various approaches in the GERMAN DANCE PLATFORM 2020’s selection of pieces turn the event into a celebration of possibilities and differences.

The GERMAN DANCE PLATFORM 2020 will be opened officially by Isabelle Schad a t t h e Münchner Kammers pielen. Schad received a tribute for excellence in artistic development in contemporary dance here in the context of the German Dance Prize. I n “Reflection” , she completes her five - year choreographic project on collective bodies; it is an exploration of different forms of physical co - existence and body subjectivities on stage – perhaps just a model for a way of living together or conceiving communities differ en t l y.

I n „Pink Unicorns“ , La Ma c a n a – Caterina Varela & Alexis Fernández i n cooperation with the head choreographer of the Theater Bremen dance department, Samir Akika , demonstrate what can be created when a father and son share a stage (or have to). Two generations clash, experience meets youthful boisterousness – i t i s a wild and simultaneously touching dance theater for everyone.

The Serbian -born choreographer Saša Asentić and his excellent cast with and without handicaps confront German dance histor y in „DIS_ SYLPHIDE ” – and make their place in it.

Simone Aughterlony , choreographer and dancer from Berlin and Zurich, presents in „ C om p a ss“ a dance and theater answer to the classic Greek epos “The Odyssey” and the trilogy of novels by the Hungarian author Ágota Kristóf . Although both works seem to be naïve, the narrative structures create a special fictional labyrinth that can be read as a pe rsonal trip through an internal world, or also as a parable of the new E u ro p e.

5 C o c o o n D a n c e a l re a d y e n th u s e d a u d i en c e s in t h e l a s t ed i t i o n o f t h e GE RMAN DANCE P L AT F ORM w i t h t h e f ir s t p ar t o f i t s t r i l o g y ab o u t th e u n th o u g h t b o d y . I n 2 0 2 0 , t h e s e c o n d p ar t , „ V I S MOTR I X “ , s h o ws a s t r o n g f e ma l e ca s t w h o s e m o v e m en t s ’ ma s t e r fu l s t r i n g en c y s u g g e s t th a t t h e d an c e r s c o m e fr om a n o t h er w o r l d . K a t V á la s t u r , wh o l i v e s a n d w o r k s in B e r l in , a l s o mo v e s c h o r eo g r ap h i c a l ly b e t w e en t h e ar t i f i c i a l a n d o rg a n i c , t h e an i m a l i s t i c a n d h u ma n – a s o l o w o r k b e t w e e n th e a n t h r o p o lo g i c a l a n d ex t r a t e rr e s t r i a l .

G i n e v ra Pa n z e tt i an d E n r i c o T i c c o n i , i n th e B e r l i n p ro d u c t i o n „ Ha r l e k i n g “ , c r ea t e h y b r i d c h a r a c te r s , d e mo n s w i th n u m er o u s i d en t i t i e s ; t h ey ca n e v o k e p l e a s u r e , b u t n o h a p p i n e s s . I n sp i r ed b y c o mme d i a d e l l’ a r t e, th e s e c h ar a c t er s ru n th ro u g h a g e s t u r a l p a rc o u r s th a t b e g in s a s f u n b u t th en r ev e a l s u n c om f o r t ab l e re a l i t i e s .

„ P LAYBLACK“ , t h e u n u s u a l c u r r en t ar t i s t i c p o s i t i o n fr om J o a n a T is c h k a u ( F r a n k fu r t a m Ma i n ), u n v e i l s wh i t e ( G e rm a n ) d e s i r e s fo r b l ac k e m b o d i m en t an d ta k e s t h e au d i en c e a l o n g i n th e re m n a n t s , m e mo r i e s a n d p r o j ec t i o n s o f A fro - Am er i c an an d A f r o - G e rm a n c u l tu r a l p r o d u c t i o n . G iv e n i t s h i s t o r y a s a ce n t er fo r d i s c o i n t h e 1 9 6 0 s a n d 1 9 7 0 s, Mu n i ch o f fe r s a n e x ce l l e n t s p a c e o f r e s o n a n ce fo r t h i s p i e c e .

T h e d a n c e r s f ro m U n u su a l S ym p t om s in th e Br e m en p r o d u ct i o n „ COEX I S T ” by A d r i e n n H ó d h o ld u p a m i rr o r t o t h e p r e s e n t. A s a n a u d i e n ce m em b e r , y o u c an n o t a v o id q u e s t i o n i n g y o u r o w n c l i c h é s a n d p o s i t io n s .

T w o fo rm a l l y s t r o n g p o s i t i o n s co me fr o m J u le F l i e r l a n d S h e e n a Mc G r a n d l e s , wh o a r e b o th h e a d q u ar t e re d i n B e r l in . Wh i l e F l i e r l t r a c e s th e e m o t io n a l d i r e c t n e s s o n s t a g e i n a n e w in t e rp r et a t i o n o f V a l e s k a G e r t’s s o u n d d a n ce s i n „ S tö r l a u t “ , M c G r a n d l e s wo r k s o n d e t a i l s , ex p lo re s t h e co m p le x c o mp o s i t io n a n d e x p re s s i o n s o f t h e p h y s i ca l an d r ev e a ls t h e ab s u rd i t y a n d ar t if i c i a l i t y o f d a i l y g e s t u r e s .

I n „ ATARA “ , th e C o lo g n e r e s i d en t R e ut S h em e s h e x a m i n e s t h e w o rl d v ie w s o f w o m e n w h o l iv e a cc o rd i n g t o t h e ru l e s o f J ew i s h o r th o d o x b e l i ef an d th o s e w h o a re oriented towards secular values. In the process, the choreographer explores her private situation, among other things.

Gintersdorfer/Klaßen use the Japanese theater|dance|music form Kabuki and confront it with the codes of the Coupé Décalé and postmodern dance. „K a b uk i N o i r ” b re a t h e s interculturality and lives through – and enliven s – a newly created stage ritual.

I n „ U n st e r n “, Munich’s choreographer Moritz Ostruschnjak finds a remarkable way to react to a (social) political reality that is going more and more out of control. Euphoria, ecstasy and breakdown all remain closely rela t ed .

Inspired by the strong emotions connected to love, „ So u l C h a i n ” connects elements of ballet and electro into thrilling contemporary dance. The ta n z m a in z e n se mb l e ventures to the limits of the possible in the piece by Sharon Eyal.

6 U t o p i a We d 04.03. 17.00 - 18 .3 0 h T h u 05.03. 14.30 - 16 .0 0 h

“DIS_SYLPHIDE” acts like an intervention in the history of dance, confronting it with questions on normativity and authenticity of bodies in dance from the point of view of mentally and physically disabled people. The piece is based on three iconographic c horeographies of the 20th century: Mary Wigman’s “Hexentanz” (1926), Pina Bausch’s “Kontakthof” (1978) and Xavier Le Roy’s “Self Unfinished” (1998). All three productions revolutionized existing concepts of the body and, by extension, dance history itself. A team made up of equal members with and without disabilities takes up this material in order to develop its own aesthetic and to produce public images of disability. As performers, they inscribe themselves into the history of dance, which to this day, ha s not assigned them a place of their own. “DIS_SYLPHIDE” critically deals with the aesthetic regimes of dance history and the outdated distinction between high culture and social work. For the first time, choreographer and cultural activist Saša Asentić is combining his choreographic practice and his work with people with disabilities.

7 Saša Asentić is a choreographer and performance artist. His works have been shown throughout Germany and the world since 2007. In 1999, Asentić founded the Per.Art o rganization, an NGO that is devoted to the production and promotion of performing arts in Serbia as well as the inclusion of the mentally disabled in art projects. From 2010 until 2013, he was director of the festival for contemporary dance Nov.Plex in N o v i Sad. He was also the director of the Balkan Dance Platform 2009 and co - cu r a to r o f th e I N -presentable festival in Madrid/Spain (2009). Asentić is interested in exploring the relationship between the individual and society, and analyzing it in social chore ography. He works in the fields of contemporary dance, performance and disability arts. After he suffered from right -wing street violence and fundamentally declared his opposition to corruption in Serbia’s public sphere, he moved to Germany in 2011. He is constantly working on extending his residence permit in Germany.

Concept, artistic direction: Saša Asentić Choreography, artistic collaboration: Natalija Vladisavljević, Alexandre Achour, Olivera Kovačević Crnjanski Performers: Natalija Vladisavljević, J elena Stefanoska, Snežana Bulatović, Dalibor Šandor, Marko Bašica, Frosina Dimovska, Dunja Crnjanski, Alexandre Achour, Olivera Kovačević Crnjanski, Saša Asentić Poems: Natalija Vladisavljević Dramaturgy consultant: Marcel Bugiel Artistic assistance: Frosi na Dimovska Advice on costume design: Marina Sremac Executive producer Novi Sad: Nataša Murge Savić Coproduction: Kampnagel Hamburg, Künstlerhaus Mousonturm Frankfurt am Main, MIKUB e.V. Berlin, Per.Art Novi Sad Support: Aktion Mensch, NATIONALES PERFORMAN CE NETZ (NPN) Koproduktionsförderung Tanz aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien

8 Kammerspiele Kammer 3 S a t 07.03. 17.00 - 18 .00 h S a t 07.03. 22.00 - 23 .00 h S u n 08.03. 13.30 - 1 4.3 0 h

“Compass” is formulated as a dance and theater response to the ancient Greek epic poem “Odyssey” by Homer and to Hungarian Ágota Kristóf’s trilogy of novels. It has been developed within the two years research project “Twins”, initiated by Zagreb b a se d d an ce company 21:21, bringing together Simone Aughterlony, a Berlin and Zürich based choreographer and performer, the Croatian dancer and choreographer Petra Hraščanec, and the Croatian dramaturg Saša Božić. The narrative structure of literarary originals for m the architecture of a fictional labyrinth. Two women – Aughterlony and Hrašćanec – seem like twins on stage. They set out on an internal odyssey to become themselves, drifting on the waves of hard reality. Ropes, canvases, bones and horns accompany them o n their expedition. Those vibrant female bodies may not be sailors after all. They will shed the wet clothes, sweeten the sugar with freshly sucked blood. Give, receive, refuse, and depart again. We are essentially alone and always be perceived as stranger s on new shores, even as we are intimately entwined. This journey to the self can also be read as a parable of the new Europe.

9 Simone Aughterlony is an independent artist based and supported in Zurich and Berlin, working predominantly in dance and p erformance contexts. Over more than decade, Aughterlony she has been devising and producing choreographic works. As a performer she has worked with artists such as Meg Stuart/Damaged Goods, Forced Entertainment and Jorge León, Phil Hayes amongst o t h er s. In 2015 «Supernatural», a collaboration with artists Antonija Livingstone and Hahn Rowe premiered in American Realness while in the same year the performance project «Uni * Form», devised by Jorge León and Aughterlony premiered at Zue rc h er T h e a t er Spektakel. Alongside en extensive tour of these works and the «Biofiction Trilogy» of which «Biofiction» is the third part. She is currently performing with Jen Rosenblit with their peformance project «Everything Fits In The Room», a commission from HAU He bbel am Ufer and Haus der Kulturen der Welt. En g ag i ng with alternative forms of kinship, inside her process new constellations of family emerge as possibilities for reconfiguring a culture of togetherness that foster both familiar and unknown quantities. H er works playfully compose with representation and its saturation, seeping into and embracing the phenomenology of mis - recognition and the absurd. Aughterlony approaches the performance genre as a world building practice where she navigates the contradicti on between the domination of desire alongside the agency of all elements.

Petra Hrašcanec works as a dancer, choreographer and educator in Zagreb. Her main interest is contemporary dance. Since 2013 Hraš ć anec has been a lecturer and mentor of the programm e for contemporary dance technique at the Academy of Dramatic Arts in Zagreb, Croatia. In 2012 Hraš ć anec received the Croatian Theatre Prize for the best dance performance "Love Will Tear Us Apart" (choreography: Petra Hraš ća n e c a n d S a ša Bo ž i ć) .

S a sa Bo ž ić works in various artistic fields, from theatre direction, choreography and dramaturgy to the organisation of cultural promotion campaigns and the strategic planning of cultural projects. As a dramaturge Božić works together with renowned choreographers and dancers in Croatia and abroad. Together with a host cooperation project, Saša Božić has realised a number of independent theatre, dance and multimedia projects, which are currently part of the repertoire of the most important Croatian theatre instituti on s.

Created by: Simone Aughterlony, Petra Hrašćanec & Saša Božić Performed by: Simone Aughterlony, Petra Hrašćanec Music: Hahn Rowe Set, costume design : Ana Savić - G e ca n Light design: Bruno Pocheron / Miljenko Bengez - Claire Terrien (Munich) P o st e r v isuals: Tina Gverović Video: Josip Visković Production for 21:21: Andrea Remetin, Ivan Mrđen Production for Verein für Allgemeines Wohl: Sina Kießling Production for &TD: Silvija Stipanov Produced by: 21:21 Co- produced by: Simone Aughterlony /Verein für Allgemeines Wohl, Studentski centar u Zagrebu - Kultura promjene - Teatar &TD via apap - Performing Europe 2020, International Coproduction Fund of the Goethe - I n st i tu t Distribution: ARTHAPPENS.be

10 Kammerspiele Kammer 2 We d 04.03. 22.00 - 22 .4 0 h T h u 05.03. 17.15 - 17 .5 5 h

What is the driving force behind a hybrid organism of man and machine? “VIS MOTRIX” (Latin: the moving force), created by the Bonn -based company Cocoon Dance is the second part of a trilogy on the “unthought” body. Based on the dance techniques of breaking and krumping, choreographer Rafaële Giovanola explores how bodies can be perceived in a “post -human” way. The dancers move through the room with dazzling rigor, as if they came from another world. Their bodies are tense, as if wanting to deflect an invisible electrical energy. The upper body and hips connect like hinges, holding them down to the ground. They begin to dominate the flow of energy in constantly changing formations. Biza rre and fascinating structures emerge that evoke tribal dances and rites: transhumanism as a traumatic round dance that connects with the subconscious mind. “VIS MOTRIX” by Cocoon Dance is an impressive female counterpart to the preceding production “MOMEN T U M ” w h i ch featured three male dancers and was invited to the TANZPLATTFORM DEUTSCHLAND in Essen in 2018.

11 Cocoon Dance was founded by the dramaturge Rainald Endraß and the choreographer Rafaële Giovanola on the occasion of an invitation to the Avign on Off Festival in 2000. The Swiss Rafaële Giovanola, who was born in Baltimore/USA, studied with Marika Besobrasova in Monte Carlo, among others. After a first position in Turin, she was employed by the Frankfurt Ballet. Under the direction of William For sy th e , she stayed for eight years and was involved in all important productions. From 1990 to 2003, Giovanola was a member of Pavel Mikuláštik’s choreographic theater in Bonn. In 2000, she and the dramaturge Rainald Endraß founded the Cocoon Dance p r o je c t , which travels over five continents with its more than 30 full - l e ng t h productions. Since 2004, the company has been running the dance department of the Theater im Ballsaal (Bonn). Cocoon Dance has practically developed into an institution with extended net w or k s – not just in the field of art, but also in the area of cultural education.

By & with: Fa - Hsuan Chen, Martina de Dominicis, Tanja Marín Friðjónsdóttir, Susanne Schneider, Marie Viennot Choreography, Regie: Rafaële Giovanola Music: Franco Mento S t a g e, lighting design: Gregor Glogowski Costumes: CocoonDance Costume advice: Mathilde Grebot Choreographic assistence: Leonardo Rodrigues Dramaturgy: Rainald Endraß Management: mechtild tellmann kulturmanagement Production: CocoonDance Cooperation: Theater im Ballsaal, Théâtre du Crochetan, Malévoz Quartier Culturel, M o n th e y Support: Bundesstadt Bonn, Ministerium für Kultur und Wissenschaft des Landes N o r dr h e in - Westfalen, Residenzprogramm TRIENNALE Kanton Wallis ThéâtrePro Valais, Le Conseil de la Culture Et at du Valais, La Loterie Romande

12 Munich Center of Community Arts, MUCCA T h u 05.03. 22.15 - 23 .1 5 h F r i 06.03. 15.00 - 16 .00 h S a t 07.03. 15.00 - 16 .00 h S u n 08.03. 13.30 - 1 4.3 0 h

T h e Be r l in -b a se d choreographer and dancer Jule Flierl created “Störlaut”, a futuristic speculative re - interpretation of the sound dances coined by grotesque dancer Valeska Gert in the 1920s. Gert despised the way her contemporaries merely reproduced historical material. Wh at has the use of voice changed in the representation and perception of dancers' bodies? How can their historical dances become a weapon on the battlefield of modern -day discourse? The current political climate is unsettling, similarly tense as it was duri ng the interwar period. Fake news, propaganda and post - factual discourse give Gert's methods and approaches to the act of articulation a new kind of relevance. “Störlaut” incorporates sound dance and mobilizes it as a form of non- verbal and extralinguistic proclamation when other forms of speech fail. Squeaking, roaring, rattling, stuttering, clucking, panting, choking, whimpering and screaming are forms of expression that give way to another kind of discourse, one that speaks with emotional directness.

13 Jule Flierl wants to tell the story of sound dance. Non - linear concepts of time and the fiction of historicity are her thing. Her research revolves around the difficult relationship between a dancer and her voice. Flierl works with a somatic voice m ethod called the Lichtenberger method, which explores anatomy and fantasy in relationship to frequencies and pre -musical sounds. The interplay between her knowledge of different techniques of contemporary dance and her vocal training has led to choreograph ic works that perceive the voice to be dance. In her lecture performance „I intend to sing“, she reflects on her practice and reveals historic connections to earlier vocal dancers. Flierl has worked in a Turkish gay bar as a gogo dancer, played the female lead in the German film “Führer Ex” and studied at the Salzburg Experimental Academy of Dance (SEAD) and EXERCE Montpellier. In addition to creating her own works, Flierl is also a dancer in works by other artists, for example Christine Borch, Martin Nachb ar, Ibrahim Quarishi, Gintersdorfer/Klaßen, Sergiu Matis, Tino Sehgal and Meg Stuart.

Co n c ept, choreography, performance: Jule Flierl Dramaturgy: Luise Meier Stage design: Pauline Brun Sound art: Sam Hertz Costume: Lea Kieffer Lighting design: David Eckelmann, Sandra Blatterer Production management: Alexandra Wellensiek Production: CharleroiDanses Brussels, Rencontres chorégraphiques internationales de S e i n e - S a in t - Denis Paris, P - Bodies Festival Leipzig, Goethe - Institut Honululu, Nantes, AdK Archiv Ber lin, Kunsthaus KuLe Berlin, CND Paris, Zagreb Dance Center, SOPHIENSÆLE Support: Fonds Transfabrik – D e u t sch -französischer Fonds für darstellende Künste, Berliner Senatsverwaltung für Kultur und Europa (Wiederaufnahme)

14 Kammerspiele Kammer 1 F r i 06.03. 20.00 - 21 .30 h

Since 2005, director Monika Gintersdorfer and visual artist Knut Klaßen have been creating cross - genre productions on cultural differences in collaboration with a G e r m an - Ivorian team of performers. In “Kabuki Noir”, the traditional dramatic codes of the Japanese dance - drama kabuki are set against the codes of the Ivorian Coupé Décalé and post -modern dance and transformed into a new hybrid stage ritual. As opposed to Western performance practice, kabuki productions have remained the same for centuries. As a result, the situations presented have a ritual character and leave a strong aesthetic impression. Glamorous costumes, narrative choreographies a nd st ag e elements form a vocabulary which is hardly decipherable for those not familiar with the art form. Gintersdorfer/Klaßen take up this homogenous repertoire and re -c a st i t with their team of performers – with the aim to create a theater based on fl at hierarchies. In a cultural appropriation, political, spiritual and comic scenes from traditional kabuki become the starting point for a narrative about the visible and invisible demarcations of our time.

15 Gintersdorfer/Klaßen have been developin g projects since 2005 that focus on performers’ life strategies and forms of expression while confronting them with their own strategies and aesthetics. The team is from Germany/Côte d’Ivoire with international guests. Everything is what it is. It’s not ab out invented or symbolic things, whether on the text, performance or material level. They try to find a transfer of life into theater, and from theater/performance into life.

Monika Gintersdorfer studied German literature and theater, film and television studies in Cologne, along with directing in Hamburg. From 2000 to 2004, her pieces c o u ld b e s e en a t th e Ha m b u r g e r S ch a u sp i e l h au s , Mü n ch n er K amm e r sp i e l e a n d th e S a l z b u r g er F e s t s p i e l e . S i n c e 2 0 0 5 , sh e h a s b e e n wo rk i n g t o g e th e r w i t h K n u t K l aß e n and a team of performers from Germany/Côte d’Ivoire (Gintersdorfer/Klaßen) at the Volksbühne im Prater Berlin, Kampnagel in Hamburg, FFT Düsseldorf as well as Sophiensaele Berlin, Theater Aachen, Schauspiel Köln, Ringlokschuppen Mülheim, Deutsches Theater Berlin, Sch auspielhaus Bochum, Theater Bremen, KVS Brüssel, Frascati Amsterdam, Rotterdamse Schouwbourg, Theater Maria Matos Lissabon, WUK Wien, Theater Chur and many other venues in Africa, Europe and Australia.

Knut Klaßen is a visual artist; he lives and works in Be r l in .

With: Annick Prisca Agbadou, Je an - Claude Dagbo alias DJ Meko, Gotta Depri, Ju l e F l i e r l , Montserrat Gardó Castillo, Hallo Werner Clan, Hauke Heumann, F r an c k Edmond Yao alias Gadoukou la Star A ssi st e n c e st a g e : Marc Aschenbrenner A ssi st e n c e c o st um e : Ev a Ca rb o Assistence: Lisa Magierski, Royce, Aleks Cigale Dramaturgical advice: Eric Parfait Francis Taregue, Konstanze Hanitzsch L o g i st i c : Axel Gerber Production: Gintersdorfer/Klaßen Coproduction: HAU Hebbel am Ufer Berlin Support: Berliner Senatsverwal tung für Kultur und Europa

16 Gasteig Carl - Orff - S a a l T h u 05.03. 20.00 - 21 .3 0 h

“COEXIST”, created by the Ensemble Unusual Symptoms of Theater Bremen, discloses an equally insidious and merciless view on the political and social definitions in which our bodies move and by which they are shaped and influenced. Using black humor and an ecstatic dance language, the dancers mercilessly hold up a mirror to to day’s world. Ranging between empathetic gestures and an ambivalent game of taboos and conventions, personal stories and social discourse, they confront the audience with the limits of perception and challenge them to question their own clichés and opinions as well as rebalance them. Adrienn Hód is considered one of the most important voices of the contemporary Hungarian dance scene. Her work is devoted to finding new forms of dance and dramaturgical principles in a playful and often provocative manner.

17 Theater Bremen belongs to the decisive locations for performance and development of German dance history. As a domain for such innovative and controversial choreographers such as Johann Kresnik, Gerhard Bohner, Reinhild Hoffmann and Susanne Linke, the Bremer Tanztheater has repeatedly broken with traditional forms and assumptions. In the process, it always attempted to have social impact with its a r t .

The works by Unusual Symptoms , the company in residence at Theater Bremen, are inspired by artistically diverse methods and influences that flow together in open work processes. The individual productions constantly react to current artistic needs. The company has been directed by Alexandra Morales and Gregor Runge since the 2 0 1 8 / 1 9 s e a so n . U n u s u a l S y mp t om s c omm i s s i o n in t e r n a t io n a l ly k n o w n choreographers such as Samir Akika, Máté Mészáros, Núria Guiu Sagarra, Helder Seabra and – for „COEXIST“ – Adrienn Hód/HODWORKS.

The choreographer Adrienn Hód studied at the Budpapest Dance School with Iván Angelus, among others. In 2007, she founded Hodworks; she developed works in which she deconstructs relationships between movement, space and music on the basis of a reduction of the body as a medium of artistic expression – and then places them in a surprising new order. Thus her produ ctions constantly find new dance forms and dramaturgic principles that radically expand thinking about contemporary dance in its potential for expression.

W i t h : G a b r io G ab r ie l l i, N ó r a Ho r v á t h , A l e x a n d r a L l o r e n s , C s a b a Mo l n á r , N o r a R o n g e, A a ro n S a mu e l D a v i s , An d o r R u su , J e ss i c a S i m e t , Yo u n g - Wo n S o n g , A n to n io S t e l l a C h o r eo g r a p h y : A d r ie n n H ó d A r t i s t i c c o l la b o r a t io n : C s a b a Mo ln á r C o s t u m e s : A n n a L e n a G r o t e L i g h t in g d e si g n : T i m Sc h u l t en Mu s i c : Á b r i s G ry l l u s D r a m a tu r g y : Gr e g o r R u n g e P r o d u c t io n m an a g e m en t : Á g n e s B á s t h y , A l e x a n d r a Mo ra l e s P r o d u c t i o n a s s i s t e n ce : A n d y Zo n d a g A r t i s t i c a d v i c e : Á r m in S z a b ó - S z é k e ly P r o d u c t i o n : T h e a te r B re m e n , O F F F o u n d a t i o n S u p p o r t : I n te rn a t i o n a l er K o p ro d u k t io n s fo n d s d e s G o e th e I n s t i tu t s , Co n ra d Na b er S t i f t u n g , Wo r k sh o p F o u n d a t i o n C o p r o d u c t i o n : Tr a fó Ho u s e o f Co n t em p o r ar y A r t s , B u d a p e s t

18 Muffathalle We d 04.03. 17.00 - 18 .2 0 h T h u 05.03. 15.00 - 16 .2 0 h

“The lock screen on my son's phone is a pink unicorn. When I was a teenager, I stayed far away from anything that was pink. I had never heard of unicorns before and cell phones didn’t exist.” In “Pink Unicorns”, the Cuban - born dancer Alexis Fernández is on stage alongside his son. Experience enc ounters youthful exuberance. Assumed serenity is questioned with curiosity. The collaborative work of the artist collective La Macana (Caterina Varela and Alexis Fernández) with the choreographer Samir Akika, resident choreographer at Theater Bremen, deals with the not always uncomplicated relationship between the generations. The impulse of both father and son to share the stage holds a mirror up to the audience: fathers, mothers, sons, daughters. “Pink Unicorns” is wild dance theater in which two bodies e ncounter each a n o th e r.

19 Born in Algeria and raised in a Parisian suburb, Samir Akika first studied physics, mathematics and sport in Paris and Miami. He discovered dance rather late, and then studied at the Folkwang Hochschule in Essen. He has bee n working as a freelance dancer and choreographer since then, with a close association to the tanzhaus nrw Düsseldorf, Theater im Pumpenhaus Münster and Goethe Institute. His works have won many awards. In addition to his noteworthy stage productions for a dults, he has been realizing projects with young adults throughout the world on a regular basis. Samir Akika has been directing the dance department of the Theater Bremen since the 2012/13 season; he has been the resident choreographer there since 2018/19 wh i l e also increasing his freelance work.

La Ma c a n a is a company that was founded by Caterina Varela und Alexis Fernández in 2009. He is an internationally known dancer and choreographer from Cuba; she is a dancer, choreographer and producer from Galicia.

A k ik a a nd La Mac a n a met for the first time in 2009; after that, they joined up numerous times due to their continuing relationship to Germany. Their mutual respect for one another resulted in the birth of their cooperation. Their time had come in 2 0 18 .

Creation: Caterina Varela, Samir Akika, Alexis Fernández Interpretation: Alexis Fernández, Paulo Fernández Lighting design: Afonso Castro Stage design: Tilo Schreieck Porduction manager: Caterina Varela P r o du c t ion: LaMacana Coproduction: AGADIC, Theater i m Pumpenhaus Münster, Theater Bremen

20 S c h w e r e Re i t e r F r i 06.03. 22.15 - 22 .50 h S a t 07.03. 15.00 - 15 .35 h S a t 07.03. 22.15 - 22 .50 h S u n 08.03. 15.00 - 1 5.3 5 h

Along a wall which is a recurring stage element in the work of choreographer Sheena McGrandles from Berlin, two figures are constantly reinventing/revising themselves – forward, backward, cut, start over, repeat. “FIGURED” is a constant interruption of moving bodies. In continuous new versions, previously performed movements generate multiple narratives and create illogical relations. The starting point is a reduced sequence of ten seconds, which is hyper -processed and demolished on stage throughout 40 minutes. McGrandles’ study on the represented body focu se s o n a complex composition and execution of the physical, revealing the absurdity and artificiality of everyday life. The live sound taken from various field recordings is fragmented and broken in a similar way. The result is a soundscape that creates a tension with detail, thereby dynamizing and amplifying it. Persistently, sometimes even obsessively, “FIGURED” adheres to detail and focuses on it over and over a g a i n.

21 Sheena McGrandles completed her studies at the Laban Center London in 2007. She worked as an artist in residence with the Daghdha Dance Company in Ireland from 2008 to 2009. In 2012, she completed her MA in Solo/Dance/Authorship (SODA) at the Hochschulübergreifenden Zentrum Tanz (HZT) in Berlin. In 2012/13, she was a resident choreogr apher at K3 Hamburg, where “true balls” was created. In the context of the Tanzkongress in Hanover in 2016, she showed „WHO’S THE PARTY NOW, SISTER?“ about the invisible or forgotten feminist performances of the 1960s and 1970s. Since October 2013, she has been a part of the artistic research team of the BA program „dance, context, choreography" at the HZT Berlin. She has worked with such artists as Eva Meyer - Keller, Isabelle Schad, Daniel Kok and Tove Sahlin. Her works are shown throughout Europe.

Co n c e p t & direction: Sheena McGrandles Performers: Sheena McGrandles, Annegret Schalke Sound: Stellan Veloce Lighting design: Annegret Schalke Stage design: Sheena McGrandles Light: Elliott Cennetoglu Outside eye: Zinzi Buchanan, Thomas Schaupp Tour management: ehrliche arbeit - freies Kulturbüro Support: Berliner Senatsverwaltung für Kultur und Europa, Agora MOVE Berlin

22 Muffathalle F r i 06.03. 22.15 - 23 .15 h S a t 07.03 17.00 - 1 8. 00 h

In kaleidoscopic scenes, “Unstern” illuminates the very moment before catastrophe strikes; it is a blend of violence, nationalist propaganda, incipient battle cries, machismo and insecurity. In a wide, empty space, Munich -based choreographer and d a n ce r Mo r itz Ostruschnjak evokes a dismal and threatening atmosphere. Euphoria, ecstasy and disruption are juxtaposed. The longing for a collective result in the creation of body formations that on the one hand resort to aggression and violence and on the other han d lead to the adjustment and disciplining of bodies. The demonstration of dominance and authority are followed by surrender and destruction. Expressive images bring about narrative movements and performative scenes. A sequence of conditions, sensations and motives evolve into an image of a society on the edge, the onset of a new era. In his previous work, Ostruschnjak dealt with the changes in physical and social experience in times of digitization and virtualization. “Unstern” builds on this and, in refere nce to the beginning of the 20th century, reflects on the fundamental parameters of social, technological and political change as well as its implications.

23 Moritz Ostruschnjak is a choreographer, dancer and performer. He studied dance at the Iwanson International School of Contemporary Dance in Munich and completed his education with Maurice Béjart in Lausanne. He had engagements at the Staatstheater Nürnberg, Nationaltheater M annheim, at GöteborgsOperans Danscompani Introdans in Arnhem, among others. He has worked with numerous choreographers, among them Maurice Béjart, Sasha Waltz, Stijn Celis, Wim Vandekeybus, Michael Keegan - Dolan and Roberto Zappala.

He has been active as a freelance choreographer and dancer in Munich as well as at various theaters since 2013.

Idea, concept: Moritz Ostruschnjak Choreography: Moritz Ostruschnjak in collaboration with Daniela Bendini and the d a n ce r s Dancers: Eli Cohen, Antoine Roux - Briffaud, G aetano Badalamenti, Lazare Huet Video: Moritz Stumm Lighting design: Tanja Rühl Costume: Renate Ostruschnjak Sound design: Paolo Mariangeli Production management: Hannah Melder Production: Moritz Ostruschnjak Coproduction: Schwere Reiter Tanz S u p po r t : Kulturreferat der Landeshauptstadt München, Bayerischer Landesverband für zeitgenössischen Tanz aus Mitteln des Bayerischen Staatsministeriums für Wissenschaft und Kunst Realized through a residency of the Theater Freiburg within the framework of the G r a nd Luxe network.

24 Schwere Reiter We d 04.03. 22.15 - 22 .5 5 h T h u 05.03. 17.15 - 17 .5 5 h T h u 05.03. 22.15 - 22 .5 5 h

Ginevra Panzetti and Enrico Ticconi have been working as a duo in Berlin since 2008. In their work they combine dance, performance and visual arts. Their main focus is on the historical connection between communication, violence and power and they create hybrid characters and images that are situated somewhere between (theater) history and contemporaneity. “Harleking” is a demon with multiple identities. His body language is similar to the Harlequin’s in commedia dell’arte – an astute servant driven by an insatiable hunger. The specific hypnotic quality of Harleking’s com munication combines the often extreme and contradictory content to form a fluid, metamorphic system. Everything can happen and at the same time become blurred again. “Harleking” is reminiscent of the grotesques, ancient decorative wall art with monstrous f igures interlaced with elegant ornamental spirals. Figures that can bring about pleasure, but never joy. The piece was in the Aerowaves Twenty19 selection.

25 T h e d uo Ginevra Panzetti u nd Enrico Ticconi link dance, performance and visual a r t s i n t h eir artistic research. They delve into subjects that relate to the historic connection between communication, violence and power. They reach into old imaginary worlds and create hybrid characters or images between history and contemporary art. Both graduat ed from the academy of visual arts in Rome and attended Stoà, a school for rhythmic movement and philosophy in Cesena, directed by Claudia Castelluci. They moved to Germany in 2010: Panzetti studied media art at the Hochschule für Grafik und Buchkunst (HGB ) in Leipzig and Ticconi “dance, context, choreography” at the Hochschulübergreifenden Zentrum Tanz (HZT) in Berlin. In 2019, they were selected to the European dance platform AEROWAVES Twenty 19 with their work “HARLEKING”. In the same year, they won the 1 3 th Ar t e Laguna prize for the site - specific performance „JARDIN / ARSENALE“.

With & by: Ginevra Panzetti, Enrico Ticconi Sound design: Demetrio Castellucci Lighting design: Annegret Schalke Costumes: Ginevra Panzetti, Enrico Ticconi T e c hn i c a l direction: Paolo Tizianel Promotion: Marco Villari Illustrations, graphic: Ginevra Panzetti Support: VAN (Italy), Tanzfabrik, Berlin, PACT Zollverein, Essen, NAOcrea - Ariella Vidach - AiEP, Milano, KommTanz - Compagnia Abbondanza/Bertoni, Rovereto, L‘arbo r e to - Teatro Dimora, Mondaino, AtelierSì, Bologna, C.L.A.P.Spettacolodalvivo, Brescia Further support: Cronopios - Teatro Petrella, Longiano, Vera Stasi - Progetti per la Scena, Tuscania, Network Anticorpi XL (Italy)

26 „ “

Kammerspiele Kammer 1 We d 04.03. 20.00 - 21 .3 0 h

Bodies that are made up of many fall to pieces, break down into their individual parts and push themselves back together again. With “Reflection”, Berlin-based choreographer Isabelle Schad concludes her five-year choreographic project on collective bodies. From the utopia of community in “Collective Jumps” to the analogy of nature in “Pieces and Elements”, “Reflection” focuses on the forces that move us as well as on the singularity of moving others. The performers approach theater as a social gathering place, as a reflection on life, transformation (and death), as an apparatus whose engines interact with the biomechanics and movements of the human body. A sense of urgency is implied, a feeling of bodies that are constantly “working”, willing to seek out the collective and individual strategies we require in order to exist, to coexist, to persist. “Reflection” is a profound and multi-layered investigation of movement which explores various forms of physical coexistence and subjectivities of the body on stage – perhaps it even outlines a way to live together. In 2019, Schad was honored for her outstanding artistic development in contemporary dance as part of the German Dance Award.

27 The dancer and choreographer Isabelle Schad studied classical dance in Stuttgart and danced for numerous different choreographers until she started initiating her own projects in 1999. Her emphases are on the body and its materiality, the relationship between the body, choreography and (re)presentation, the creation of communities as well as political involvement. Her works lie on the interface between dance, performance and visual arts, and they are shown at international festivals such as Internationale Tanzwoche Wien, Tanz im August, International Arts Festival Beijing and Impulstanz Wien, among others. She worked together with the Goethe Institute several times. In 2003, she founded the international artist network and project “Good Work” together with Bruno Pocheron and Ben Anderson. She is also part of the “Practicable” project, with which she realized the group pieces „Glazba” und „Musik” in 2010 and 2011. Schad is the co- director of the project space in the Wiesenburg- Halle in Berlin: since 2013, she has been active as a Zen Shiatsu practitioner. In addition, she has also been working continually with Laurent Goldring, with whom she presented the following works in the context of the common work exhibition „On Visibility and Amplifications” at the HAU Hebbel am Ufer: „An Un- Folding Process”, „Der Bau”, „Unturtled #1 & #4” and „Collective Jumps”, which premiered in 2014. In the fall of 2015, she presented “Fugen” at the HAU, and in 2016, the work “Pieces and Elements”. In 2017, “Turning Solo” premiered and was shown together with “Double Portrait“ .

Concept, choreography: Isabelle Schad Co- choreography, performance: Jozefen Beckers, Barbara Berti, Frederike Doffin, Ewa Dziarnowska, Naïma Ferré, Josephine Findeisen, Przemek Kamiński, Mathis Kleinschnittger, Manuel Lindner, Jan Lorys, Josh Marcy, Claudia Tomasi, Nir Vidan, Natalia Wilk Dramaturgical collaboration: Saša Božić Artistic assistence: Claudia Tomasi Composition, sound: Damir Šimunović Lighting desing, technical direction: Emma Juliard Costumes: Charlotte Pistorius Costume assistence: Maja Svartåker Theoretical advice: Elena Basteri Production management: Heiko Schramm

Production: Isabelle Schad Coproduction: HAU Hebbel am Ufer, Pact Zollverein Essen Support: Hauptstadtkulturfonds, Berliner Senatsverwaltung für Kultur und Europa Further support: Wiesen55 e.V., Goethe- Institut Indonesien

28 „ – “

U t o p i a Fri 06.03. 15.00 - 16 .00 h S a t 07.03. 22.15 - 23 .15 h

In her work, the Cologne -based choreographer Reut Shemesh, who is originally from Tel Aviv, deals with the peculiarities of her homeland and the role women play in it. In “ATARA” she focuses on the worldviews of women who live according to the requirements of the Jewish Orthodox faith and those who are guided by secular values. As part of her research for the piece, Shemesh spoke with orthodox and secular women in Hamburg, Israel, and New York. Women’s everyday life in orthodox Jewish communities consists of a number of detailed rules and rituals that have a strong influence on family st ructures, gender roles, sexuality and the female body. “ATARA” poses the question what femininity, female sexuality and the woman’s place in a family and society can be. How do they find their destination or how don’t they? By re -enacting events from the c horeographer’s personal life – sh e grew up in a secular - orthodox mixed family – and incorporating photography, text and movement, an oscillating dialogue between the worldviews emerges. Clichés, prejudices and one's own way of life are brought into questio n.

The artist Reut Shemesh ’s works range from contemporary dance and choreography to experimental film and poetry. She received her first diploma at the Kunsthochschule für Medien in Cologne. She has exhibited and presented her works at the tanzhaus nrw Düsseldorf, Jewish Museum Berlin, Kampnagel Hamburg, Tanzhaus Zürich, Suzanne Dellal Center Tel -Aviv, Theatre Lab NYC, Korzo Theater Den Haag, Dance Atelier Rotterdam, City Theatre Groningen and Arp Museum Rolandseck. Her works were presented at i nternational festivals and nominated for numerous prizes, among them Cologne’s Tanz - und Theaterpreis 2016 for her work „LEVIAH“. Her films were shown in 2017 at the Kurzfilmtagen Oberhausen and the Art Cologne. Shemesh was selected to be a choreographer i n residence in the K3|Tanzplan Hamburg 2018. Her research project “WITNESS” opened the Impulse Theater Festival 2019. She presently lives and works in Cologne.

Co n c ept, choreography, text, photography: Reut Shemesh Creation, performance: Hella Immler, Ts ipora Nir, Florian Patschovsky Composition, sound design: Simon Bauer Dramaturgy: Matthias Quabbe Mentoring: Anne Kersting Video, stage, lighting design: Ronni Shendar Costume: Marie Siekmann Production assistence: Valerie Witt Financial dramaturgy: Béla B i so m Production management: Sabina Stücker Special thanks to: Hilla Shemesh Rathaus, Florian Egermann. Production: Reut Shemesh Coproduction: K3 | Tanzplan Hamburg, tanzhaus nrw Support: Kulturamt der Stadt Köln, Kunststiftung NRW, Stiftung Zurückgeben, KunstSalon Stiftung / Step Up und RheinEnergie Stiftung Kultur, Hamburgische Kulturstiftung Further support: tanzfaktur köln, iDAS NRW, Machol Shalem Jerusalem

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Residenztheater S a t 07.03. 20.30 - 21 .20 h

The Israeli choreographer Sharon Eyal and her partner Gai Behar have created “Soul Chain”, a sophisticated commissioned piece full of energy for the tanzmainz ensemble. Inspired by the strong emotions surrounding love, “Soul Chain” combin e s elements of ballet and electro, turning it into an exciting contemporary dance piece. “There are big feelings that are trapped inside the body. I don’t think it needs a story, the urgency expresses itself much more directly through the bodies, the m u sc l es. ‘Soul Chain’ is a piece about longing. You can see the pain, the sweat and how the inner world is trying to break free.” (Sharon Eyal) The piece is an electrifying Gesamtkunstwerk in which the ensemble in Mainz, propelled by the beats of composer Ori L ichtik, releases innermost forces. tanzmainz is the contemporary dance company of the Staatstheater Mainz, which collaborates with international guest choreographers on a regular basis. Artistic synergy effects, the creation of networks, co - operations and coproductions play an important role in the artistic development of the company. In 2018, tanzmainz was awarded the German theater prize DER FAUST for this choreography.

Ta n z m a i n z is the contemporary dance ensemble of the Staatstheater Mainz. Tanzmainz’s goals are to achieve artistic synergy effects with a maximum of openness and then implement them in the development of new choreographic concepts. The creation of networks, coopera tions and coproductions plays an important role in the company’s artistic development. The ensemble works with guest choreographers such as Sharon Eyal & Gai Behar, Guy Nader & Maria Campos, Koen Augustijnen & Rosalba Torres Guerrero, Garry Stewart, Daníél e Desnoyers and José N a v a s.

Sharon Eyal was born in Jerusalem. From 1990 to 2008, she was an outstanding dancer with the Israeli Batsheva Dance Company – one of the most influential contemporary ensembles worldwide. More than 200 tours led her to all majo r international dance stages. At Batsheva, Sharon Eyal had her first experiences as a choreographer. From 2003 to 2004, she was the Associate Artistic Director of the company and became house choreographer in 2005. Together with her long - t e rm partner, Gai Behar, she founded her own company, L -E - V in 2013. Both have also created commissioned works, most recently for the Nederlands Dans Theater 1 and the Royal Swedish Ballet. After „Plafona Now“ (2014), „Soul Chain“ is the second e v e n in g - length creation by ta n z ma i n z.

Choreography: Sharon Eyal Artistic advice: Gai Behar Costume: Rebecca Hytting Composition: Ori Lichtik Lighting, stage design: Alon Cohen Choreographic assistence: Rebecca Hytting Rehearsal director: Andrea Svobodova Dancers: Madeline Harms, Daria Hlinkina, Bojana Mitrović, Nora Monsecour, Amber Pasters, Maasa Sakano, Marija Slavec, Milena Wiese; Justin Brown, Zachary Chant, Finn Lakeberg, Cornelius Mickel, Sándor Petrovics, Matti Tauru, Louis Thuriot, John Wa n n e ha g Director tanzmainz: Honne D oh rm a nn Artistic production management: Lisa Besser, Julia Danila

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H o c h X We d 04.03. 22.15 - 23 .1 5 h T h u 05.03. 22.15 - 23 .1 5 h F r i 06.03. 17.15 - 18 .15 h S a t 07.03. 17.00 - 18 .00 h

“If you're thinking about being my baby, it don’t matter if you're black or white,” as the hit song goes by the King of Pop. In 1991, the record company described it as being a “rock ‘n’ roll dance song about racial harmony.” Can pop music provide the reputed potenti al to overcome structurally established power structures, to allow us to temporarily become someone else, to discard the identities assigned to us and escape the logic of representation? The choreographer and dancer Joana Tischkau exposes the white (German ) desire for black impersonation and takes the viewer on a journey into the conceptions, memories and projections of Afro - American and Afro - German cultural production. “PLAYBLACK” moves away from universalism (of white abstraction) and invites the audience to pause for a moment in the specificity of black German experience. The diligent construction of white neutrality and generality is called into question. It's Showtime Baby! “PLAYBLACK” utilizes the ‘90s television format “Mini Playback Show”, hosted by Mareijke Amado, making an attempt to counter the call for liberal “colorblindness” with childlike defiance. “PLAYBLACK” is Tischkau’s final production at the Institute for Applied Theater Studies at the University of Giessen.

J o a na T i s c h k a u i s a ch o re o g r ap h er an d p er fo r m e r. S h e h a s a l w a y s d a n c ed a t y o u t h c e n t e r s, h ip -h o p c lu b s a n d d i s c o s , o n s t ag e s in s e m i -p ro f e s s i o n a l c o n t e x t s an d a t th e n e i g h b o rh o o d d an c e s ch o o l. S h e re c e i v e d f o rm a l d a n c e t r a in i n g a t C o v e n tr y U n i v er s i t y in G re a t B r it a i n , wh e re s h e c om p l et e d h e r BA in d a n ce an d a c t in g . S h e s t u d i e d c h o re o g r ap h y an d p e rf o r m an c e a t t h e I n s t i t u t f ü r An g e w an d te T h e a t er w i s s e n s c h af t in G i e ß en , wh e re s h e a l so r e s e ar ch e d h o w s o c i al u rb a n d an c e p r a c t i ce an d p o p cu l t u re c a n b e i n t er w o v e n w it h i n te r s e c t io n a l f e m in i s m a n d p o s t - c o l o n i a l th e o r i e s . Sh e m a i n ly ch o re o g r ap h s h e r o wn p i e c e s su c h a s h e r so l o wo rk “WHAT . YE AH ” , wh i c h w a s i n v i t e d t o th e WORK S AT WORK f e s t i v al i n th e D a n s e n h a l l e rn e C o p en h a g en , a n d „ T P F KAWY / T h e p ie c e fo rm e r ly k n o w n a s w h a t y e ah “ , w h i c h wa s s h o wn a t t h e H e s s i s c h e Th e a t er t a g e in D a rm s t a d t 2 0 1 7 . B o t h p ie c e s s u b v er t cu l t u r a l co d e s a n d m e an i n g s a n d th u s d a r e t o a t t e mp t t o t a k e a w a y th e i n s c r i b e d le g ib i l i t y o f t h e fe m a l e P OC b o d y . I n ad d i t io n , s h e a l s o wo r k e d in d i ff e r en t t h e a t e r a n d d a n c e p e d ag o g y co n te x t s w i th re fu g e e s a n d G e rm a n y o u n g ad u lt s , w h e r eb y s h e a l so p o s ed q u e s t i o n s a b o u t a n t i -r a c i s t p r a c t i c e i n t h e wo r k w i t h y o u n g a d u l t s wh i l e s e ar c h in g f o r fo r m a t s t h a t a c co mp a n y i t .

C o n c e p t, ch o r e o g r ap h y : C l a r a R e i n er , J o a n a Ti s c h k au S o u n d d i r e c t io n : J a n Ge h m l i ch D r a m a tu r g y : E l i s a b e th H a m p e P e r f o r m an c e : An n e d o re A n t r ie , C l a ra R e i n er , J o a n a T i s c h k au C o s t u m e : I n a T r en k P r i n t : N ad i n e B a k o t a L i g h t in g d e s ig n : De n n is D i e t e r Ko p p G r a p h i c , s t ag e d e s i g n : J u s t u s G e l b er g P r o d u c t i o n m a n ag er : Li s a G e h r in g P r o d u c t i o n : J o a n a T i s ch k au C o o p er a t i o n : Kü n s t l e rh a u s Mo u s o n t u rm F ra n k f u r t a m M a i n , S t u d i e n g a n g C h o r eo g r a f i e u n d P er fo r m an c e d er H e s s i s c h en Th e a t er a k ad e m ie S u p p o r t : K u l tu r a m t d er S t a d t F ra n k f u r t am M ai n S p e c i a l th a n k s t o : B o j an a K u n s t , Va n e s s a Th om p s o n , H e in e r G o eb b e ls , E l i s a L i ep s c h , A r a n K le e b au e r, D an i el S h a w

34 Kammerspiele Kammer 2 F r i 06.03. 17.15 - 18 .15 h S a t 07.03. 15.0 0 - 16 .00 h

How can dance capture something that is constantly shifting? This solo was c r e at e d by choreographer and dancer Kat Válastur in collaboration with performer Enrico Ticconi and visual artist Leon Eixenberger. They developed an abstract environment in which a figure can be found which is transforming constantly. Here, the body r e a c t s in its eerie and elusive state to how it is impacted by the digitally informed world: the various and fluid requirements and inputs from the outside require it to be changeable and adaptable. Through a kaleidoscope of movements and voices, “Rasp Y o u r S ou l” shows the diverse facets of a personality moving between the artificial and the organic, the animal and the human, the male and female. Voice and sound are essential components of this environment and act as a magical organ that extends performativity b eyond space and body. “Rasp Your Soul” is the first piece of Válastur's series titled “The Staggered Dances of Beauty”.

35 Kat Válastur lives and works in Berlin as a choreographer and performer. Fragmentation, “diverted architecture”, time lapses, entropy, fiction and virtuality are some of the terms that serve as a foundation for her works and the creation of a certain field of power. I n 2013/14, she accepted the invitation by the Institut für Raumexperimente under the direction of Olafur Eliasson at the Universität der Künste (UdK) Berlin. Here she began with work on a new series titled “The Marginal Sculptures of Newtopia”, in which sh e examined the body’s confrontation with its inherent ritual topology. Each of her works is based on specially realized diagrams, sketches and texts. Her works are shown nationally and internationally at theaters or festivals. Válastur studied dance at the Hellenic School of Dance, at the Trisha Brown Studios in New York with a Fulbright grant and received her MA at the Hochschulübergreifenden Zentrum Tanz (HZT) in Berlin. In 2017, she was nominated for the George Tabori Prize.

Co n c e p t, choreography, script, articulation: Kat Válastur Performance: Enrico Ticconi Satge design, sculptures: Leon Eixenberger Lighting design, objects: Martin Beeretz Sound design, music: Bryan Eubanks Further sound: Kat Válastur Costume: Kat Válastur P r e ss, p ro duction (creation): björn & björn Production: Kat Válastur Coproduction: HAU Hebbel am Ufer, Onassis Cultural Foundation, Theater Freiburg, Kunstencentrum STUK Leuven, Stichting Châtel sur Place Amsterdam Support: Berliner Senatsverwaltung für Kultur und E uropa, NATIONALES PERFORMANCE NETZ (NPN) Koproduktionsförderung Tanz aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien Further support: TATWERK | Performative Forschung, Uferstudios, Tanzfabrik Berlin, ada Studio

36 Honne Dohrmann Director tanzmainz & tanzmainz festival (Mainz)

Gurur Ertem Sociologist & Curator (Berlin & Istanbul)

Ingrida Gerbutavičiūtė Journalist & Curator (Frankfurt am Main & Vilnius)

Walter Heun Artistic & Executive Director JOINT ADVENTURES (Munich)

Anna Mülter Dance Curator & Dramaturge Sophiensaele (Berlin)

During the year and a half of the review process, each of the five jury members saw 180 to 230 pieces on video or live. A total of 44 4 performances were viewed. The j u r y i s inviting everyone to a public discussion before and after the event.

We d . 04 .0 3 . 3:0 0 pm Kleiner Konzertsaal, Gasteig

S u n . 0 8. 03 . 11: 00 am Muffathalle

37 Honne Dohrmann was active as an artistic director, curator and dramaturge for numerous dance and theater festivals, among them LAOKOON – das Kampnagel Sommerfestival (Hamburg), PRISMA (Oldenburg) and POLYZENTRAL (Hamburg). From 1998 to 2013, he directed th e TANZ Bremen Festival, most recently together with Sabine Gehm. In 2016 and 2017, he was the guest curator for the dance program of the Festspiele im Theater im Pfalzbau Ludwigshafen. Since the 2014/15 season, he has been the director of the 20 - st ro ng t an zmainz ensemble. He is simultaneously the artistic director of the tanzmainz festival.

Gurur Ertem is a founding co -director of the iDANS International Contemporary Dance and Performance Festival in Istanbul, where she has been responsible f or curatorial research, program planning and publication since 2006. In 2016, she received her doctorate in sociology at the New School for Social Research ( N e w York) with a thesis titled “ The EUropean Dance: The Emergence and Transformation of a Contemp orary Dance Art World (1989 – 201 3 )” . As a grant recipient at the Akademie Solitude in the liberal arts, she is currently working on a project with the working title „ The Lived Body Under (Neo) Authoritarianism“.

The dance critic and dramaturge Ingrida Gerbutavičiūtė received her MA (linguistics, theater sciences, journalism and communication science) at the Freie Universität in Be r l i n. Since 2011, she has been the project director at the Lithuanian Dance I n fo rm a t i on Center (LDIC), where she has been directing the “International Dance Experts in Lithuania” project and co - curating the „Lithuanian Dance Showcase“ and „Baltic Dance Platform“ . 20 12 -2 01 7, Gerbutavičiūtė organized and curated the Berlin f e st i v a l „ L i t a ue n ta n z t“ . 20 13 -2 01 8, Gerbutavičiūtė held the dance chair at the Lithuanian Academy for Music and Theater, where she initiated two new BA programs for dance and dance pedagogy. 20 14 - 20 16 , she was a jury member for the famous Lithuanian theater prize “Golden C ross of the Stage”; in 2018, for the “ground support” prize at the Favoriten Festival Dortmund. Gerbutavičiūtė pu b l i she s her contributions to dance periodicals and online dance magazines in German and Lithuanian.

38 After previous work to create structures for the Munich dance scene, Walter Heun founded the dance and theater production company JOINT ADVENTURES in 1990. In the same year, he initiated and coordinated the federal festival BRD a n c e , the first overview of c ontemporary dance in Germany since 1945; to do so, he created a network of 19 co -organizers in 15 cities. Walter Heun is a co - founder and, since 1 9 94 , a co -organizer of the GERMAN DANCE PLATFORM. In 1991, he founded TANZWERKSTATT EUROPA and, in 2007, the i nternational guest performance se a so n Access To Dance in Munich. He is the founder and project director of the NATIONAL PERFORMANCE NETWORK (NPN); since 1999, it supports guest performances and co -productions with means from the German Federal Government Commissioner for Culture and the Media as well as the ministries of culture and art of the federal states. He conceived of and directed lu z er n t a n z , the choreographic center at the lu z er n er th e a t e r , from 1999 to 2004. From 2009 to 2017, he was the director of t h e Tanzquartier Wien .

Anna Mülter is a curator from Berlin who directs the Tanztage Berlin and is jointly responsible for the thematic festivals at the Sophiensæle. At the same time, she was also a part of the dramaturgy team at the tanzh aus nrw in Dusseldorf, where she developed a focus on technical extensions of the body, among others. Beginning in 2021, she will direct the Theaterformen festival. The first edition of this international theater festival will take place in Hanover in the summer of 2021.

39 ?

A bike ride to the people and places of Munich’s dance history (1900 - 19 19 )

The tours start at the Künstlerhaus am Lenbachplatz. You can either rent a bike or use your own.

T h e number of places is limited. Please register by e m a i l : [email protected]

Thu 05.03. 10.00 – 1 3 .0 0 h E N Thu 05.03. 13.30 – 16.30 h GER Fri 06.03. 10.00 – 1 3 .00 h G E R Fri 06.03. 13.30 – 1 6 .30 h E N Sat 07.03. 10.00 – 13 .00 h E N Sat 07.03. 13.30 – 16.30 h GER

The bike ride through dance history is a literal take on the idea of an archive in m o t i on – a unique kind of urban experience that was produced during the Mu n ic h festival DANCE in May of 2019. The tour takes the participants to places that are connected to the dance history of Munich in the early modern age. Isadora Duncan performed in Franz von Stuck's villa, after which she had the opportunity to appear a t t he Künstlerhaus. Rudolf von Laban founded the first modern dance school in Munich before he initiated his legendary summer courses on Monte Verità. His student and assistant Mary Wigman made her debut as a dancer and choreographer in Munich in 1914 with “H exentanz” and “Lento”. Pioneers such as Sent M'ahesa, Clotilde von Derp and Alexander Sacharoff greatly contributed to the era of modern dance in Munich. The tour illustrates that Munich was one of the most important birthplaces of independent modern dance at the beginning of the 20th century and played an important role in the history of dance until the First World War broke out.

Concept & texts: Thomas Betz, Brygida Ochaim based on an idea by Brygida O c h a i m Project management: Gina Penzkofer Organizer: Nina Hümpel, DANCE, Festival für zeitgenössichen Tanz der Landeshauptstadt München Cooperation partners: Lenbachhaus, Münchner Kammerspiele, Münchner Künstlerhaus, Museum Villa Stuck Sponsored by Kulturreferat der Landeshauptstadt München, Bayerischer L a n desverband für zeitgenössischen Tanz (BLZT), funded by Bayerisches Staatsministerium für Wissenschaft und Kunst, ACCESS TO DANCE as part of PAT The project is part of the pilot project “Lebendiges Archiv” (living archive) for the performing arts in the Kult urreferat der Landeshauptstadt München.

40 Thu 05.03. – S a t 07 .0 3 1 0 .0 0 – 1 1. 15 h

Cafeteria Goethe -I n st i tu t

As part of TANZPLATTFORM DEUTSCHLAND, the Goethe -Institut traditionally o r g a n iz e s d i s cu s s i o n s w i t h a n d f o r ar t i s t s . S in c e th e T ANZ P L AT T FORM DEUTSCHLAND, again after a number of years, takes place in Munich, where the headquarters of the Goethe -Institut is also located, the Goethe -Institut invites artists and visitors, as well as other interested parties, to breakfast discussi ons over coffee, cappuccino, pretzels or croissants. An experimental discussion format offers the opportunity to reflect on and discuss what has been seen and what can be seen in an international setting, as well as to talk to artists about their concerns, their working m e t h o d s , a b o u t in t er n at i o n a l n e t w o r k s , a n d al s o a b o u t w h a t i s c u r r en t l y m o v i n g a l l of us and what is socially relevant.

Organizer: Goethe -I n sti t u t

V o n Meg Stuart & Moriah Evans in Zusammenarbeit mit Silke Bake, Doris Dziersk, Abraham Hurtado, Varinia Canto Villa, Gizem Aksu, Preethi Athreya, M ay f i e ld Br o o k s, Keke Brown, Anja Müller, Carlos Maria Romero, u . a.

"WITH" is a shared process, a daily sequence of situations at, with and around a table, among sixteen dancers and choreographers - many who meet for the first time in Munich. Utilizing speculative thinking and emphasizing relationality as a means to acknowledge existence in constant states of translation, the participants consider: w h a t they share, what’s at stake and how they acknowledge differences without ignoring them or moving towards consensus.

The public in Munich will be invited to situations with the performers. Opening times will be announced in February 2020.

A project by Mor iah Evans, Meg Stuart (concept), Doris Dziersk (table, space concept), Silke Bake (dramaturgy). Dialogued, hosted and funded by Goethe - I n st i tu t in cooperation with Kammerspiele München.

…

As part of TANZPLATTFORM DEUTSCHLAND, Munich’s independent dance scene is offering three performative city walks during which the venues and open spaces of local artists will be presented. All routes will begin at 10.00 h at the Gasteig. There are shuttles available for routes 2 & 3, which will take the participants to the respective starting points and back to the Gasteig again. Snacks and drinks will be provided on all routes. The number of places is limited. Please register by e m a i l : [email protected]

R o u t e 1 Thur 05.03. G a st e i g – Theater HochX

R o u t e 2 F r i 06 . 03 . Iwanson International School – Tanztendenz e.V.

R o u t e 3 S a t 0 7. 03 . Schwere Reiter Tanz – Kreativquartier

Concept & organizers: Theater HochX, Iwanson International School of Contemporary Dance, Tanztendenz München e.V. Funded by Bayerischer Landesverband für zeitgenössischen Tanz (BLZT) funded by Bayerisches Staatsministerium für Wissenschaf t und Kunst

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We d 0 4. 03 . P r e - Trip to the Tanzzentrale der Region Nürnberg e.V. Tafelhalle Nürnberg

The participants will meet at Munich Central Station at 9 am and will return to Munich around 3 pm. Breakfast will be served on the train.

The number of places is limited. Please register by e m a i l : [email protected]

Bavaria has a vivid and innovative contemporary dance scene – also outside of Munich. The Franconian city of Nuremberg and its local contemporary dance scene is only an hour’s train ride away. The Tanzzentrale der Region Nürnberg e.V. is offering a pre - tr i p titled “Into the Bavarian Woods” during which the participants have the opportunity to gain an insight into the work of dance professionals of the Nuremberg region and come into contact with local artists. As part of a pitching session, selected choreogr aphers from the Nuremberg dance scene will present excerpts from current and new pieces in the Tafelhalle.

Organizer: Tanzzentrale in der Region Nürnberg e.V.

P r e - sale for all performances of TANZPLATTFORM DEUTSCHLAND will start at the beginning of January 2020!

München Ticket +49 89 54 818181 www.muenchenticket.de

From 12.12.2019 until 14.02.2020 professionals can register online for the TANZPLATTFORM DEUTSCHLAND. Tickets can be ordered via the registration f o rm .

Co n t a c t Verena Wössner +49 89 189 31 37 12 [email protected]

As the first federally networked dance festival

1990 BRDance Festival

As a trilogy of the common founders

1994 Berlin 1996 Frankfurt 1998 Munich

As a biennially changing event

2000 Hamburg 2002 Leipzig 2004 Dusseldorf 2006 Stuttgart 2008 Hanover 2010 Nuremburg 2012 Dresden 2014 Hamburg 2016 Frankfurt 2 0 18 E sse n 2020 Munich

Die Beauftragte der Bundesregierung für Kultur und Medien ; Kulturrefera t d er Landeshauptstadt München; Bayerisches Staatsministerium für Wissenschaft und K u n st ; Kulturstiftung der Stadtsparkasse München

Gasteig München GmbH; G o e t he - In st i t u t ; Hoc h X ; ITI Deutschland; Munich Center of Community Arts, MUCCA; Muffatwerk; Münchner Kammerspiele; Residenztheater; Schwere Reiter; Utopia

Kulturmagazin C apriccio des BR Fernsehen ; Deutschlandfunk Kultur